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Le rouleau compresseur et le violon

Titre original : Katok i skripka
  • 1961
  • 46min
NOTE IMDb
7,4/10
7,6 k
MA NOTE
Igor Fomchenko in Le rouleau compresseur et le violon (1961)
Drame

Ajouter une intrigue dans votre langueSeven-year-old Sasha practices violin every day to satisfy the ambition of his parents. Already withdrawn as a result of his routines, Sasha quickly regains confidence when he accidentally m... Tout lireSeven-year-old Sasha practices violin every day to satisfy the ambition of his parents. Already withdrawn as a result of his routines, Sasha quickly regains confidence when he accidentally meets and befriends worker Sergei, who works on a steamroller in their upscale Moscow neigh... Tout lireSeven-year-old Sasha practices violin every day to satisfy the ambition of his parents. Already withdrawn as a result of his routines, Sasha quickly regains confidence when he accidentally meets and befriends worker Sergei, who works on a steamroller in their upscale Moscow neighborhood.

  • Réalisation
    • Andrei Tarkovsky
  • Scénario
    • S. Bakhmetyeva
    • Andrei Konchalovsky
    • Andrei Tarkovsky
  • Casting principal
    • Igor Fomchenko
    • Vladimir Zamanskiy
    • Natalya Arkhangelskaya
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,4/10
    7,6 k
    MA NOTE
    • Réalisation
      • Andrei Tarkovsky
    • Scénario
      • S. Bakhmetyeva
      • Andrei Konchalovsky
      • Andrei Tarkovsky
    • Casting principal
      • Igor Fomchenko
      • Vladimir Zamanskiy
      • Natalya Arkhangelskaya
    • 33avis d'utilisateurs
    • 21avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos76

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    Rôles principaux17

    Modifier
    Igor Fomchenko
    Igor Fomchenko
    • Sasha
    Vladimir Zamanskiy
    Vladimir Zamanskiy
    • Sergey
    • (as V. Zamanskiy)
    Natalya Arkhangelskaya
    Natalya Arkhangelskaya
    • Devushka
    • (as N. Arkhangelskaya)
    Marina Adzhubei
    Marina Adzhubei
    • Devushka v rozovom
    Vyacheslav Borisov
      Yuri Brusser
        Zhenya Fedchenko
        Marina Figner
        Marina Figner
        • Mama uchenika muzykalnoy shkoli
        • (as M. Figner)
        Aleksandr Ilin
        Aleksandr Ilin
          Gena Klyachkovsky
          Igor Korovikov
          Kolya Kozyryev
            Antonina Maksimova
            Antonina Maksimova
            • mama Sashi
            • (as A. Maksimova)
            Tatyana Prokhorova
            Tatyana Prokhorova
            • Devushka-sosedka
            • (as Tanya Prokhorova)
            Lyudmila Semyonova
            Lyudmila Semyonova
            • Uchitelnitsa muzyki
            • (as L. Semyonova)
            Aleksandr Vitoslavsky
              Galina Zhdanova
              Galina Zhdanova
              • Sosedka
              • (as G. Zhdanova)
              • Réalisation
                • Andrei Tarkovsky
              • Scénario
                • S. Bakhmetyeva
                • Andrei Konchalovsky
                • Andrei Tarkovsky
              • Toute la distribution et toute l’équipe technique
              • Production, box office et plus encore chez IMDbPro

              Avis des utilisateurs33

              7,47.5K
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              Avis à la une

              9yusufpiskin

              Welcome to the Tarkovsky's World

              Tarkovsky from the outset was out of this world. Hard to believe this was a student film. Stunning work. The scene where Sasha finally plays his violin in front of Sergei contains one of my absolutely favorite shots ever. Sergei's face bathed in the moving shadows of light as he listens to this innocent and pure child channeling humanity's wonderful capacity for simple, pure beauty.
              7A_FORTY_SEVEN

              For fans of Tarkovsky.

              My Rating : 7/10

              Decent first film from one of the greatest film directors of all time.

              While it isn't representative of Tarkovsky's philosophy of sculpting in time which he developed later on it's a very Soviet film culturally.

              Sweet, ordinary and very accessible unlike the metaphysical, slow arthouse oeuvre to follow later from the great Russian maestro.
              7veganflimgeek

              Roots of a genius

              Roots are sometimes dirty.

              This student film from Russia's greatest film genius does a lot with it's short running time. This should mostly be seen for no other reason than it is the roots of genius. There is no epic story telling just a well told two story of two Russians from different worlds who for one day are able to be the friends they are looking for.

              The camera work is interesting…albeit sometimes overly arty. However in a short student film that is kinda the point huh? I was lucky to get this at the library and I would say this is worth a rental not purchase unless you're a diehard fan.
              8Galina_movie_fan

              In the beginning

              Andrei Tarkovsky's school graduation project, the short film Katok i Skripka or Steamroller and the Violin (1960), by the words of Russian critic Maya Turovskaya, the first rate film, is promise of the things that would come so powerfully in his later films. The most important part of the little film was the joy of showing the beauty and poetry of the ordinary familiar things. The whole world of the film is saturated in colors, filled by myriads of playful solar spots, mirror reflections (yes, mirror - one of the favorite Tarkovsky's images is already presented here), patches of light on water, all living, pulsing, sparkling. Tarkovsky's camera man, the famous cinematographer Vadim Yusov recalls that the idea of the film came to young director after watching the French short film "Red Balloon" (1956) by Albert Lamorisse that ran successfully in the theaters at the time. "Red Balloon" defined the color palette of Tarkovsky's movie. The dominant color for Katok i Skripka was red mixed with yellow and compared to blue in the sky above and in the clothing of two main characters, the young boy playing violin and the grown up man, the driver of a steamroller, who had became his friend, even if for a short time.

              I'd say that the first Tarkovsky's work is perhaps his most accessible, light, sweet, and warm - the terms we don't usually associate with the master of serious metaphysical, deeply philosophical, even cosmic films that lack conventional dramatic structure. I think it would be a good starting point for anyone interested in Tarkovsky's work. It is interesting to compare Katok i Skripka to Tarkovsky's next work, his first feature, astounding Ivanovo Detstvo (Ivan's Childhood), another film about a boy but completely different from Steamroller and the Violin.

              For his diploma project, Andrei Tarkovsky won the first prize at the New York Student Film Festival in 1961.
              8ottfried

              we all dream of something else

              • but we all have our parts to play.


              this is a very fine piece of Soviet culture (communist belief), produced as a children's movie, but definitely for adults too.

              The symbolic imagery is abundant - the boy violinist trying to impress little girl violinist outside the music rehearsal studio, the girl first refusing the apple he gave her, but when she heard him play, she ate it; the boy being impressed with the mechanics of the steamroller; the steamroller driver longing for the pleasure of music to lighten up his monotonous day, which the boy can provide; the woman steamroller driver longing for the male steamroller driver; the envious street brats teasing the boy violinist; the boy violinist being taught to stand up for a smaller boy by the steamroller driver; the shining new Moscow building appearing behind the old being torn down; the adult, who has lived through the 2nd world war, helping the child over the puddle of water in the street; the adult worker chiding the child for not acknowledging his talents as musician; the well educated mother chiding the child for forgetting his initial promise for the evening and in stead on a whim having promised to meet the steamroller driver for a movie; the steamroller driver being stood up by the boy at the movie theater and the next day he will have to go work somewhere else and never see the boy again; the woman steamroller driver "accidentally" bumping into the male driver at the theater and he reluctantly goes with her and "leaves the music behind"...

              a very moral story, but with the twist that everybody must do, what they are good at, at any given moment. If the society recognizes a need for musicians, we MUST have musicians, and if we need workers, we MUST have workers. But we can dream, we can always dream, of being someone else - and it is this longing that gives us the desire to do and be. Eg. when the boy is in the practice studio, he is chided for having too much imagination, i.e. he should just fulfill his part, which is interpreting the music to the best of his abilities. But the reason for his lack of concentration is that he is thinking of the girl outside the room, whom he gave the apple. Later, he plays to the musician, and now he is good, now he is concentrated - because in this instant he recognizes the differences between him and the steamroller - he recognizes that he has a responsibility to perform to the best of his abilities, and he does so with knowledge and humility.

              I don't care for what communism became or was, but there is a valuable lesson learned in this gem of a movie: We must do, what we do best, and do it to the best of our abilities. And, yes, we dream - but we will always dream - of something else, BECAUSE NO ONE CAN DO EVERYTHING THAT HE HIMSELF NEEDS. Thus - in spite of the frame of reference - it becomes a film of how a society is structured.

              8/10

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              Histoire

              Modifier

              Le saviez-vous

              Modifier
              • Anecdotes
                This is Andrei Tarkovsky's film school diploma short movie.
              • Connexions
                Featured in S. M. Eizenshtein: Uroki montazha (1990)

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              FAQ

              • How long is The Steamroller and the Violin?
                Alimenté par Alexa

              Détails

              Modifier
              • Date de sortie
                • 30 décembre 1961 (Union soviétique)
              • Pays d’origine
                • Union soviétique
              • Langue
                • Russe
              • Aussi connu sous le nom de
                • The Steamroller and the Violin
              • Lieux de tournage
                • 23, 7-Y Rostovskiy Pereulok, Moscou, Russie(Balcony where the steamroller is. Since demolished.)
              • Société de production
                • Mosfilm
              • Voir plus de crédits d'entreprise sur IMDbPro

              Spécifications techniques

              Modifier
              • Durée
                46 minutes
              • Couleur
                • Color
              • Mixage
                • Mono
              • Rapport de forme
                • 1.37 : 1

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              Igor Fomchenko in Le rouleau compresseur et le violon (1961)
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